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Religious Workshop and Gregorian Chant: the Janus Liszt, Or How to Make New with the Old Nicolas Dufetel

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Religious Workshop and Gregorian Chant: the Janus Liszt, Or How to Make New with the Old Nicolas Dufetel Religious Workshop and Gregorian Chant: The Janus Liszt, or How to Make New with the Old Nicolas Dufetel To cite this version: Nicolas Dufetel. Religious Workshop and Gregorian Chant: The Janus Liszt, or How to Make New with the Old. James Deaville et Michael Saffle. Liszt’s Legacies. Based on papers presented at the International Liszt Conference held at Carleton University, Ottawa, Canada , Pendragon Press, pp.43-71, 2014. halshs-01422220 HAL Id: halshs-01422220 https://halshs.archives-ouvertes.fr/halshs-01422220 Submitted on 24 Dec 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License Religious Workshop and Gregorian Chant: The Janus Liszt, or How to Make New with the Old NICOLAS DUFETEL Introduction: the vague Meaning of “religious” Music Franz Liszt regarded his religious music as central to his output. In spite of renewed interest on the part of musicians and musicologists,1 however, Liszt’s Masses, motets, oratorios and psalm settings remain underappreciated. Some ten years ago, the second edition of Michael Saffle’s Liszt research guide contained only 66 references to publications about Liszt’s sacred music—this out of a total of 1500 references: a mere 4.4% of the total.2 In the third edition of 2009, that number rose only slightly, because Liszt studies are still heavily biased toward his piano music.3 Furthermore, the studies represented by this small percentage are as varied in presentation as they are in subject matter: they include dissertations, monographs, scholarly articles, and more popular writings, and they cover different fields such as biography, analysis, aesthetics, and influences. Unfortunately, these studies rarely attempt to define the relatively vague term “religious music.” This last point is of fundamental importance, for as Joseph d’Ortigue wrote in his Dictionnaire liturgique, historique et théorique de plain-chant et de musique d’église—a book much read and used by Liszt—“religious” music in the nineteenth century was both everywhere and nowhere and remains an ambiguous concept: Yes, everyone admits to the existence of religious music, sacred music, church music because in the eyes of all, whether religious or indifferent, believers or non-believers, these words express one of the needs which, however vague and ill-defined, is nonetheless natural and profound, needs, in short, which each of us feels more or less powerfully. But even if that sentiment is widespread, there is no real notion of it and, even worse, there is no real theory of it either…. In this way, it is very easy for anyone to give his own definition of religious music. As soon as we base our thinking on what is called “religious sentiment,” there are no longer any rules or limitations.4 This observation is central to Liszt’s music, for one could almost say that his entire output, or at least the greater part of it, is “religious” inasmuch as it was inspired by his Catholic faith and culture, or 1 See, for instance: Zsuzsanna Domokos, “The ‘Miserere’ Tradition of the Cappella Sistina, Mirored in Liszt’s Works,” in: Liszt 2000. Selected Lectures Given at the International Liszt Conference in Budapest, May 18-20, 1999, ed. Klára Hamburger (Budapest: Hungarian Liszt Society, 2000), 117-134; “The Performance Practice of the Cappella Sistina as Reflected in Liszt’s Church 2 Saffle, Franz Liszt: A Guide to Research, 2nd ed. (New York and London: Routledge, 2004). For statistics and charts, see Nicolas Dufetel, “Palingénésie, régénération et extase dans la musique religieuse de Franz Liszt,” 2 vols. (dissertation, Université François- Rabelais, Tours, 2008), II :535-537. 3 Saffle, Franz Liszt: A Research and Information Guide, 3rd ed. (New York: Routledge, 2009). 4 “Tous admettent une musique religieuse, une musique sacrée, une musique d’église, parce que, aux yeux de tous, religieux ou indifférents, croyants ou non croyants, ces mots expriment un de ces besoins vagues, indistincts, mais naturels et profonds, dont chacun a plus ou moins le sentiment. Mais si le sentiment est partout, la véritable notion, et, à plus forte raison, la véritable théorie n’est nulle part. [...] Cela étant, il est tout simple que chacun définisse la musique religieuse à sa manière. Dès lors qu’on se base sur ce qu’on appelle le sentiment religieux, il n’y a plus de règles, plus de limites” [Joseph d’Ortigue, Dictionnaire liturgique, historique et théorique de plain-chant et de musique d’église au Moyen Age et dans les Temps modernes (Paris: Potier, 1854), xxvii-xxx]. On the question of secularization in the nineteenth century, see René Rémond, Religion et Société en Europe: La sécularisation aux XIXe et XXe siècles, 1789- 2000 (Paris: Seuil, 2001). 2 Nicolas Dufetel more generally by a certain idea of music as a bridge between the Finite and the Infinite. Some of his piano pieces, such as the Années de pèlerinage, the Harmonies poétiques et religieuses, and the Légendes, clearly have a religious aspect to them. Liszt himself said as much in a little-known letter that he wrote in 1865 to an unidentified correspondent: One can say that Music is religious in essence and that, like the human soul, it is “naturally Christian.” And when it is combined with words, what more legitimate use is there for its energies than to sing of Man to God and in that way to serve as a rallying point between these two worlds, the finite and the infinite? It enjoys such a prerogative because it plays a part in both of them at once. Restricted in time, it is unlimited in the intensity of its expression.5 Not all religious music is church or liturgical music, however, and when one studies Liszt’s output, one needs to ensure that the conceptual categories are well defined and adequately delimited, for each genre has its own specific character. A Life-Long Quest for a New, “Regenerated” Church Music It was during the 1830s, while he was living in Paris, that Liszt first developed an interest in plainchant and in the music of the Renaissance. In his own words, he wanted to play a part in the “regeneration of religious music.” This phrase is taken from his famous essay of 1835, De la musique religieuse.6 Most studies of Liszt’s religious works understandably quote from and draw extensively on this essay. It is worth emphasizing, however, that Liszt spoke not about “reform” but about “regeneration.”7 There are repeated references in Liszt’s writings to this peculiar idea of progress, and they all occur within the context of a dialectic involving past, present, and future. To give but one example from De la Fondation Goethe à Weimar, Liszt quotes a maxim attributed to Leibniz that underpins all the major nineteenth-century narratives on the subject of progress: “Engendered by the past, the present gives birth to the future.”8 Liszt’s thinking on the philosophy of history finds concrete expression in his relations to plainchant, for we need to approach him from one perspective as a composer keen to cast his lance far into the future, while from another as the advocate of a centuries- old tradition. 5 Liszt to an unidentified correspondent, May 20, 1865, D-WRgs 60/59, 76, 33. Reproduced with minor variants in FLBr VIII:170-171. “On peut dire que la Musique est religieuse par essence, et comme l’âme humaine ‘naturellement chrétienne’. Et puisqu’elle s’unit à la parole, quel plus légitime emploi de ses énergies que de chanter l’hom[m]e à Dieu, et de servir ainsi de point de ralliement entre les deux mondes, – le fini et l’infini? Une telle prérogative lui appartient car elle participe à la fois de l’un et de l’autre. Bornée par le temps, elle est sans limites dans l’intensité de son expression.” 6 Franz Liszt, “De la musique religieuse” [quoted from Franz Liszt: Sämtliche Schriften, vol. 1 (Frühe Schriften), ed. Rainer Kleinertz and Serge Gut (Wiesbaden: Breitkopf & Härtel, 2000), 52-58]. 7 See Dufetel, “La musique religieuse de Liszt à l’épreuve de la palingénésie de Ballanche: réforme ou régénération?” Revue de musicologie 95, no. 2 (2009): 359-398. 8 “Ainsi que dit Leibniz ‘Le Présent engendré du Passé, enfante l’Avenir » [Franz Liszt, “De la Fondation-Goethe à Weimar,” in: Franz Liszt: Sämtliche Schriften 3:70]. There are many variants for this Leibniz quotation, which was famous in the nineteenth century. “Die gegenwärtige Zeit ist schwanger von [sometimes mit] der Zukunft” was the epigraph of one of the most important masonic German journals of the time, Minerva, ein Journal historischen und politischen Inhalts. See Wolfgang Brassat, Das Historienbild im Zeitalter der Eloquenz: von Raffael bis Le Brun (Berlin: Akademie-Verlag, 2003), 349. The Janus Liszt and Gregorian Chant 3 Liszt began to take an interest in early religious music during the 1830s.9 This resulted in works like the De Profundis for piano and orchestra, which although significant, has little in common with his later Gregorian-influenced works.10 Most of his contributions to that genre began in 1855 and figured more prominently in his oeuvre after 1861, the year he settled in Rome.11 By the late 1850s he was taking a detailed interest in plainchant.
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